From Pitch to Placement: The Essentials of Sync Licensing

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Sync Licensing: The Basics A synchronisation, or sync, deal will result in a rights holder’s music being used in sync with moving images. This can take place across numerous platforms including feature films, TV, advertising, games and corporate videos. A sync license involves both the master recording and publishing rights but publisher approval is needed for the use of any version of a song in an audiovisual production. Every time a piece of music is used a license is issued and the copyright holder paid a fee. In addition to the original fee, performance royalties will also be generated from a sync license.

Catalogue Management: Preparing Your Catalogue for Sync Metadata: Detailed and accurate metadata should be your first priority. Include details of artist, publisher, label, contact details, management details, clearance information, and anything else relevant. Know your rights: For your music to be synced, both the master copyright and the publishing copyright need to be cleared. Be sure you know who controls both of these copyrights and that they know how to get hold of one another in case they need to discuss clearing the track in question for a sync opportunity. Instrumentals: Make sure you have instrumental versions of your tracks available. Every single time you record a new track you should be getting an instrumental version done at the same time. PRO registration: Proper Registration of the Song with the PRO is Crucial if you want to earn royalties. Ensure that you are registered with all relevant collection agencies. Technology: Consider utilizing a catalogue management system (such as Synchtank).

Catalogue Management: Preparing Your Catalogue for Sync Useful resources: 7 Steps to Metadata Utopia (Sentric Music) Metadata Made Easy (Synchblog) Music royalty collection societies (Bemuso) Sync Resolutions Part 1: Pre-pitch Checklist (Synchblog)

Legalities and key terms It’s essential to know how the rights work and understand sync in as much detail as possible. Get yourself acquainted with the types of sync deals available, well as key terminology. From ‘exclusivity’ to ‘one-stop’ and ‘MFN’, it’s vital to have a good understanding of the contractual lingo. Remember different types of media will require different types of deal. Don’t be afraid to negotiate terms and fees, and if in doubt always seek legal guidance. Useful resources: Essential Sync & Licensing Terms (Synchblog) Sync Licensing Guide (BPI) The law of sync: an audiovisual slideshow (Synchblog) A Simple Guide to Signing the Best Sync Deal Possible (Digital Music News)

Identifying Sync Opportunities Most key sync opportunities fall into the realm of Film, Television, Advertising, and Video Games. Key personnel for each: Television: Producers and editors at production and post-production houses, as well as music supervisors and directors. Also check end credits and sites like IMDb. Advertising: Research key personnel at agencies including creatives and producers. A number of agencies also use in-house supervision companies. Ad agencies in particular occasionally mail out briefs to labels. Ask to be on the mail out list. Video Games: For game syncs, contact developers and studios such as the UK arm of EA Games. Again, most will have their own in-house music supervision team. Film: Music supervisors are typically in charge of music placement on a film project.

Identifying Sync Opportunities Do your research: Doing as much research as possible is the best way to find sync opportunities, as well as who to contact. Find out which projects are in production and who the key personnel are by referring to sites like IMBd, watching film/TV credits, checking advertising and gaming magazines and online resources, etc. There are also a number of directories that will keep you up to date with key personnel at film and TV companies as well as ad agencies. Note that people move constantly in the creative industries. Never pitch for a sync opportunity without doing your research first.

Promo Market your music: Make sure your music is marketed well. Ensure you have a good website and online presence and then drive traffic to them. Create an identity or niche (if you can): It is important to define your music and consider what type of project it may suit. Look up agencies, films, TV shows and check out their audience. Make yourself easy to find: Whilst a music supervisor’s job is to find music, you need to make sure that you’re out there for them to find. Highlight any past placements: Scored a sync before? Make sure the details are on your website/social channels. Get creative: Host a gig for music supervisors or ad agencies, send out a

Pitching No matter who you’re pitching to, make sure you stick to these general guidelines (remember, first impressions are key): Be personable and relevant: Never send a music supervisor a generic, mass email. Show that you’ve done your research. Keep it short and sweet: Send a couple of your best/most relevant tracks, not your entire album or back catalogue. Don’t attach mp3s or other files: Instead provide a link to stream/download your music. Label everything: Ensure your metadata is perfect for every track. Add in anything noteworthy: e.g. high profile blog mentions, previous syncs, radio airplay, notable live shows. Never send annoying ‘follow up’ emails. Ever.

Pitching Useful resources: What music supervisors wish you knew... But were afraid to tell you 9 tips for indie rights holders from the London Sync Sessions SynchStories: Joel C. High's tips for artists and catalogue owners Concrete tips for getting synced Many more interviews with music supervisors on our blog.

Microlicensing Requires no pitching or time on your behalf as long as you set up correctly Youtube monetization Automated licensing Small fees that mount up over time Rumblefish, cd baby, etc.

Relationship Building Building relationships with key personnel in the world of sync is obviously essential. Tips include: Attend conferences and networking events. Be friendly and personable – as you get to know publishers, sync agencies, music supervisors, and so on, you'll learn how they like to conduct business and you'll figure out their preferences. As with any relationship, trust is a key factor. If a music supervisor feels they can trust you as a reliable and professional source of music, they will hopefully keep coming back.

Third-Party Representation Third-Party Synchronisation Companies may present an alternative to sending your music out unsolicited. You may stand a better chance of reaching people through a third- party (especially in the USA). Find out which ones particular supervisors use by asking them. Remember, there are good and very bad ones and you will have to give up a percentage of your money. If you have the resources and you take a carefully targeted approach, you can stand just as good a chance as a third-party synchronisation company in getting your music to the right people.

Key Events Trade missions such as the the BPI, MPA & UKTI’s annual Sync Mission to Los Angeles. Major conferences such as SXSW, Midem, Reeperbahn. Dedicated sync conferences such as those held by AIM, Sync Summit, AIMP, and of course Women in Music. Online webinars such as those organized by Synchtank and NARIP. Head here for our comprehensive list of music industry and sync events worldwide.

Play the Long Game Getting a sync is hard. It may take years for your music to be used, so be patient and keep doing what you’re doing. Focus on writing great music, running a brilliant label, or whatever it is you do best. And in the meantime… go back and read our advice again!

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